Angle of light - what is it?
 

Reading the notes outstanding artist Eugene Rastorgueva (1920 - 2009), I was faced with the fact that do not fully understand the meaning of some of his statements. Although intuitively feel that he is right, and get to the point it would be very helpful. I hope for your assistance in this matter. Thank you.
And another very interesting idea:
As for bottles and windows, which are surprisingly well written beginners - I totally agree, he is seen many times. But the explanation of this fact in P. did not quite understand, but his thoughts are important and valid, as it seems. And what did he mean, speaking of the merit P.Kuznetsov? Waiting for clarification from you, dear forum <! - ~ 1 ~ ->

1. Eugene Rastorguev in his studio

Two. E.Rastorguev "Notes from the Looking-Glass"; edition of "RA"; M., 1998

IV, is a non-academic term. Samopridumanny (strange that the author in this case does not reveal its essence itself) ..

IV, with the terminology of the problem has always been iso ! ( and now too!)

Perspective ( in art )
 
Angle ( in art ) - a promising reduction of depicted objects . In the decorative paintings perspective is often used for the most spectacular transfer of movement and space.
 
The word " perspective " is also (somewhat inaccurately ) used to describe the point of shooting photos and filming .
 
For example, the point of shooting a portrait full face , front view, profile - often referred to as the common word " perspective ».
From WIKI

Yes it is . But there may be some in this grain of truth ? Suddenly, someone will be able to understand and explain what had Eugene Rastorguev mean? In a word , suddenly light up someone

He, as I understand it , largely wrote for myself - a stream of thoughts inspired

In papers Rastorgueva angle of light is not very seen . I think that perspective is seen as an object from a certain point , but from a different point will be a different angle. Angle of light is probably the vector coverage of the subject. Cezanne had a slightly different view . It had a composite view of the connectedness of the plot. This includes drawing and tonal relationships and conventional lighting . There is also an academic , always light at a given angle . This led to excessive damage to the naturalness of expression.
In fact, the work of the artist in discipleship teroretiziruetsya only , and then, with experience comes a sense on the basis of the theory .
This is a very slippery topic.